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As a general rule, the men of Rosewood are, well, kind of creepy. Some are creepier than others, some used to be creepy but have since redeemed themselves, and a few exceptions are simply good guys…for now, anyway. Trust them at your own risk. In honor of the Pretty Little Liars’ winter premiere (set to air on ABC Family tonight), we present to you a ranking of the PLL guys on a scale of best to creepiest - starting with the best.
1. Caleb Rivers (Tyler Blackburn)
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Caleb has been nothing but supportive of our girls – especially Hanna. His priority has always been protecting her. The creepiest thing he ever did was leave Rosewood for the failed spinoff, Ravenswood, where he dealt with ghosts or some such nonsense. We’re just glad he’s back! He proves the men of PLL aren’t ALL bad.
2. Jake (Ryan Guzman)
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Jake was nice. We liked Jake. What happened to Jake? Sure, he was meant to be a rebound guy for Aria, but he could’ve been so much more. He was a martial arts instructor (hot) and he warned Aria about Ezra (smart).
3. Mike Montgomery (Cody Allen Christian)
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Remember when Aria’s little bro went through a phase of breaking and entering? It was a more a cry for attention than actual creepiness, though. The creepiest thing he’s done is date Mona, but he genuinely liked her for some reason.
4. Travis Hobbs (Luke Kleintank)
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Travis was Hanna’s fairly innocuous rebound boyfriend – until she realized that Caleb is the best and there’s no sense pretending otherwise. He was a caring and understanding guy while he lasted, though.
5. Toby Cavanaugh (Keegan Allen)
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Toby started out as a seriously suspicious character. He was a social outcast who had an affair with his step-sister. Then just as he started to show Spencer his sweet side, he was unmasked as one of A’s minions (that black hoodie reveal, though)! He only did it to protect the girls and all is quickly forgiven (even though the whole debacle put Spencer in a MENTAL INSTITUTION). Now he’s a cop.
6. Jason DiLaurentis (Drew Van Acker)
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He’s a past drug abuser with questionable motives and a contentious relationship with his half-sister Alison. But then again, who doesn’t have a contentious relationship with Ali? We still can’t get a read on this guy, but he’s intriguing nonetheless.
7. Lucas Gottesman (Brendon Robinson)
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Lucas started out as a sweet nerd with an unrequited crush on Hanna. Somewhere along the way he started helping Mona with her dirty work and went from sweet nerd to shady nerd.
8. Wren Kingston (Julian Morris)
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This guy’s a doctor so he’s supposed to be somewhat intelligent, right? So why has he kissed not one, but two underage girls (Spencer and Hanna)? Are there seriously not enough of-age women in this town? Also, he seemingly knows more about "A" than he lets on.
9. Noel Kahn (Brant Daugherty)
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What is Noel Kahn’s deal? Will we ever find out? He was one of the few people who knew Ali was alive the whole time. Why did she trust him? Should we trust him? Things were much simpler when Brant Daugherty was on Dancing with the Stars.
10. Det. Gabriel Holbrook (Sean Faris)
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Surprise, surprise. Another older dude with a thing for younger girls. Detective Holbrook has smooched both Hanna and Ali – and he continues to investigate the PLLers. How do you still have a badge, sir?
11. Det. Darren Wilden (Bryce Johnson)
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Detective Wilden was a creepy cop who thought good police work meant blackmailing teenage girls. He’s dead now, but we can’t say he didn’t get what was coming to him.
12. Zack (Steve Talley)
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We were always a bit suspicious about the way this coffee shop owner whisked Aria’s mom away to Austria. Then right before he could become Aria’s new step-daddy, he revealed himself to be a true creep. He got handsy with Hanna and was promptly kicked to the curb by Mama Montgomery. He was also decked by Caleb, once again proving our point that Caleb is the best.
13. Ezra Fitz (Ian Harding)
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Never in the history of teen dramas has there been a more glorified pedophile than Mr. Ezra Fitz. He starts an affair with Aria, his teenage student, basically just so he can dig up dirt on all her friends for a book he’s writing. But at least he’s not "A," right? Why is this guy not in jail?!
We can agree they're all pretty hot though, right? Who do YOU think is the creepiest PLL guy? Tell us on Twitter!
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Former Lostprophets stars would have killed frontman Ian Watkins if they had realised he was a child molester. Watkins, 36, was convicted of a catalogue of sickening abuse last year (13), including the attempted rape of a baby, and he was sentenced to 35 years behind bars for his crimes.
His bandmates initially hoped the allegations were "all a mistake", but they were horrified when Watkins pleaded guilty, and now they have insisted they would have reacted violently if they had known about the singer's abuse before he was arrested.
Guitarist Lee Gaze tells BBC Newsbeat, "How could you know? How would you know? Who would disclose such a thing to five people who have eight children? You just wouldn't because they would be killed on the spot."
He went on to add that the rest of the band had grown so distant from Watkins that he believes they would have split up regardless of the abuse case, adding, "He was doing his own thing. That just grew worse over the years, the more he was using drugs. He could be in the same city as me and I wouldn't hang out with him, even if we weren't playing shows."
Lostprophets split in the aftermath of Watkins' arrest, and the five remaining bandmates - Gaze, Mike Lewis, Stuart Richardson, Jamie Oliver and Luke Johnson - formed a new group, No Devotion.

Former Lostprophets star Stuart Richardson smashed a platinum record to pieces in anger at frontman Ian Watkins' sickening child sex offences. Watkins was convicted of a number of shocking abuse charges, including the attempted rape of a baby, last year (13). He was sentenced to 35 years behind bars and the band, which formed in Wales in 1997, split shortly after.
Now members Richardson and Lee Gaze have spoken out about their shock and disgust for their disgraced ex-bandmate and the music they made with him.
Speaking to Britain's The Guardian, bassist Richardson explained how he believes their music has been tarnished by Watkins' actions, and he recently vented his fury by smashing an award he received for sales of their hit third album Liberation Transmission.
He says, "I don't know how his badness can't cancel out our music. We had platinum records in our houses, awards. I smashed Liberation Transmission the other day. The rest are in the garage and they'll probably never come out again."
Glaze adds that he will never be able to listen to their material from that time again: "I can't. It's tainted, because he was the voice of the band, and it was his lyrics."
They also reveal how they confronted Watkins in 2012 when his drug taking got out of hand. Glaze adds, "We had an intervention with him to get him off coke, and he denied he was doing it, and then a year later he was addicted to crystal meth. The gigs in 2012 were awful - on tour, he was barely functioning; he'd miss cues for songs and wasn't interacting with (the) audience. He really didn't spend much time with us. I'm quite a loner, anyway, and we weren't close... We were operating on a fractured basis, where we would only get together to do our job."
The pair has since formed a new band, Lost Devotion, with other ex-Lostprophets rockers Mike Lewis, Jamie Oliver and Luke Johnson. Former Thursday star Geoff Rickly is acting as frontman.

The former stars of defunct Welsh rock group Lostprophets have returned to the spotlight as No Devotion to release a new single on Tuesday (01Jul14). The Streets of Nowhere hitmakers split in October (13) shortly before their frontman Ian Watkins pleaded guilty to a string of sickening sex offences, including the attempted rape of a baby.
The singer was jailed for 35 years, and his former bandmates - Lee Gaze, Mike Lewis, Stuart Richardson, Jamie Oliver and Luke Johnson - have gone on to form a new group without him.
They returned as No Devotion, fronted by former Thursday star Geoff Rickly, and released their debut single, Stay, on Tuesday. They plan to head out on tour later this month (Jul14).

Zero Dark Thirty star Edgar Ramirez will replace Gerard Butler in the Point Break remake. The Venezuelan actor has signed up to play surfer criminal Bodhi, the character made famous by Patrick Swayze in the cult 1991 film.
Butler recently dropped out of the project following a series of creative differences with director Ericson Core, and a scheduling conflict.
Ray Winstone and Luke Bracey are still on board to recreate characters originally portrayed by Gary Busey and Keanu Reeves.
A statement from producers Andrew Kosove and Broderick Johnson reads: "We consider Edgar one of the finest actors in the world today, and we are thrilled he will be creating a fresh new take on the iconic character of Bodhi."

The former members of Welsh rockers Lostprophets are working on new music under a different name following the child abuse conviction of frontman Ian Watkins. The Streets of Nowhere hitmakers split in October (13), shortly before Watkins pleaded guilty to a string of sickening sex offences, including the attempted rape of a baby, telling fans they could "no longer continue making or performing music as Lostprophets".
The singer was jailed for 35 years in December (13), and now the remaining members of the band - Lee Gaze, Mike Lewis, Stuart Richardson, Jamie Oliver and Luke Johnson - have reunited to start anew.
They have teamed up with ex-Thursday frontman Geoff Rickly to record new music for his Collect Records company, although he is only working with them as their label boss.
Discussing the new project, he says, "I think if ever there was a group of people that needed a second chance, it's those guys - and they're going to take full advantage of it. People don't really think of what happens to the other members. That took away their life. What happened is just devastating for them.
"It's been my honour to work with them on their new band from a label perspective. People are not going to know what hit them when the new band comes out. It's like everything I grew up on: a little bit of New Order, a little bit of Joy Division, little bit of The Cure. It's just so forward-thinking."
The name of the new group has yet to be announced.

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
2/5
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Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
1/5
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